ANNA REDMAN
Anna Redman is a visual artist, predominantly creating through drawing and printmaking. In 2022, Redman received her BFA in Drawing from The Maryland Institute College of Art (MICA). Her work centers around duplicity, self portraiture, and mark making as a way of communicating the causes and effects of ruminative habits. Though much of her creative process starts with charcoal on paper, it often merges with installation through three-dimensional hanging processes. She is currently based in Dallas, Texas.
Artist Statement
My work emphasizes duality, often comparing and combining ideas through shadows, reflections, and translucency. Possession, exorcism, and ritual purification are common themes that I utilize to depict conflicts living inside the human form and the obsessive impulse to expel them from the body.
Artist Statement
My work emphasizes duality, often comparing and combining ideas through shadows, reflections, and translucency. Possession, exorcism, and ritual purification are common themes that I utilize to depict conflicts living inside the human form and the obsessive impulse to expel them from the body.
Vellum is a surface that is regularly used throughout my work for its translucency and skin-like qualities. This allows me to work on both sides of the paper, letting viewers look through the drawings, with the image changing with positioning and lighting. Working large-scale causes these drawings to confront and physically invade the space of the viewer. My imagery is frequently figurative, with bodily forms shaped using a combination of additive and subtractive mark making. Using mainly gradients of black and white, light and shadow are emphasized.
Religious iconography is often referenced to demonstrate how even though Catholicism has been used as a controlling mechanism in my upbringing, the familiarity in its imagery and rhetoric brings with it a morbid comfort. Pain and pleasure, which are typically considered opposites, often draw from the same source, and the past that dwells within the body can simultaneously cause comfort and unease. These ideas are explored as a way of indulging in the effects of traumatic experiences on my self, while also alluding to how the internal forces used to manipulate my actions and behaviors lead to feeling as though I am not in control of my own body.
ANNA REDMAN
Anna Redman is a visual artist, predominantly creating through drawing and printmaking. In 2022, Redman received her BFA in Drawing from The Maryland Institute College of Art (MICA). Her work centers around duplicity, self portraiture, and mark making as a way of communicating the causes and effects of ruminative habits. Though much of her creative process starts with charcoal on paper, it often merges with installation through three-dimensional hanging processes. She is currently based in Dallas, Texas.
Artist Statement
My work emphasizes duality, often comparing and combining ideas through shadows, reflections, and translucency. Possession, exorcism, and ritual purification are common themes that I utilize to depict conflicts living inside the human form and the obsessive impulse to expel them from the body.
Artist Statement
My work emphasizes duality, often comparing and combining ideas through shadows, reflections, and translucency. Possession, exorcism, and ritual purification are common themes that I utilize to depict conflicts living inside the human form and the obsessive impulse to expel them from the body.
Vellum is a surface that is regularly used throughout my work for its translucency and skin-like qualities. This allows me to work on both sides of the paper, letting viewers look through the drawings, with the image changing with positioning and lighting. Working large-scale causes these drawings to confront and physically invade the space of the viewer. My imagery is frequently figurative, with bodily forms shaped using a combination of additive and subtractive mark making. Using mainly gradients of black and white, light and shadow are emphasized.
Religious iconography is often referenced to demonstrate how even though Catholicism has been used as a controlling mechanism in my upbringing, the familiarity in its imagery and rhetoric brings with it a morbid comfort. Pain and pleasure, which are typically considered opposites, often draw from the same source, and the past that dwells within the body can simultaneously cause comfort and unease. These ideas are explored as a way of indulging in the effects of traumatic experiences on my self, while also alluding to how the internal forces used to manipulate my actions and behaviors lead to feeling as though I am not in control of my own body.
ANNA REDMAN
Anna Redman is a visual artist, predominantly creating through drawing and printmaking. In 2022, Redman received her BFA in Drawing from The Maryland Institute College of Art (MICA). Her work centers around duplicity, self portraiture, and mark making as a way of communicating the causes and effects of ruminative habits. Though much of her creative process starts with charcoal on paper, it often merges with installation through three-dimensional hanging processes. She is currently based in Dallas, Texas.
Artist Statement
My work emphasizes duality, often comparing and combining ideas through shadows, reflections, and translucency. Possession, exorcism, and ritual purification are common themes that I utilize to depict conflicts living inside the human form and the obsessive impulse to expel them from the body.
Artist Statement
My work emphasizes duality, often comparing and combining ideas through shadows, reflections, and translucency. Possession, exorcism, and ritual purification are common themes that I utilize to depict conflicts living inside the human form and the obsessive impulse to expel them from the body.
Vellum is a surface that is regularly used throughout my work for its translucency and skin-like qualities. This allows me to work on both sides of the paper, letting viewers look through the drawings, with the image changing with positioning and lighting. Working large-scale causes these drawings to confront and physically invade the space of the viewer. My imagery is frequently figurative, with bodily forms shaped using a combination of additive and subtractive mark making. Using mainly gradients of black and white, light and shadow are emphasized.
Religious iconography is often referenced to demonstrate how even though Catholicism has been used as a controlling mechanism in my upbringing, the familiarity in its imagery and rhetoric brings with it a morbid comfort. Pain and pleasure, which are typically considered opposites, often draw from the same source, and the past that dwells within the body can simultaneously cause comfort and unease. These ideas are explored as a way of indulging in the effects of traumatic experiences on my self, while also alluding to how the internal forces used to manipulate my actions and behaviors lead to feeling as though I am not in control of my own body.